Dear Kilgraney,
As promised, please find attached some pictures of the telegraph pole.Here are the credits:

Ex Machina's production of The Dragons' Trilogy directed
by Robert Lepage at the Barbican Theatre, London, which opened
the Young Genius season in Sept 2005.
Kind Regards,
Caroline Hall
Production Assistant
Barbican Centre
www.barbican.org.ukBarbican Theatre
Many thanks... The endless versatility of landscaping materials !
* see review below *

E-mail us YOUR photos !

REVIEW
- Courtesy of Michael Billington, and The Guardian.
The Dragon's TrilogyBarbican, London

Michael Billington
Monday September 19, 2005The Guardian

"This revival of Robert Lepage's five-and-a-half-hour
Quebec epic, last seen in London in 1991, kicks off a season devoted to "Young
Genius". But I can't help thinking that the Barbican and the Young Vic,
the season's joint producers, are being a bit free-and-easy with the word
"genius", for, on a second viewing, you become aware that the visual
and imaginative daring of Lepage's production far exceeds its intellectual
content.
Written by a team of six, the story involves the long and complex fortunes
of two French-Canadian female cousins and their families over 75 years. Jeanne,
daughter of a feckless Quebec barber, is forced to marry a Chinese laundryman's
son to pay off her father's gambling debts. It is a cross-cultural union that
has unhappy consequences. Meanwhile, the more conventional Françoise
makes a wartime alliance with a Canadian soldier and has an artist-son, Pierre,
who falls in love with a Japanese girl whose grandmother was a Butterfly-like
geisha and whose mother was a victim of Hiroshima.

Two things strike me about this. It is often easier
in fiction than in drama to deal with interwoven narratives spanning nearly
a century: a point proved by Margaret Atwood's The Blind Assassin, which has
a similarly expansive framework. Lepage's vision of a society in which the
opposite poles of east and west, yin and yang, male and female are harmoniously
reconciled is also too tenuous to sustain a work that occupies as much theatrical
time as Hamlet or Die Walküre.
Lepage's consummate talent - a better word than "genius"- is evident
in his mastery of space, sound and light. The action takes place in a rectangular
sandpit flanked by a street lamp on one side and a parking attendant's hut
on the other. And the images created within that space are often mesmerising.
A darkened barber's shop takes on eerie echoes of Sweeney Todd, a poker game
is evoked through syncopated beats on an oil-drum, a protesting nun in a Chinese
square is borne heroically aloft in a bicycle basket. Most extraordinary of
all is the way the simple hut is magically transformed into Chinese laundry,
Toronto shoe shop, x-ray lab and airport kiosk.

Performing in English, French, Cantonese and Mandarin,
the cast of eight create a whole world on stage with astonishing versatility.
If I were visually and aurally dazzled rather than emotionally or intellectually
stirred, I suspect it was because the young Lepage was a master theatrical
technician still searching for the ideal form. "